Original subtitles

Okay, let's say you've exhausted the full-length

poses, or hopefully with what I've taught you,

you'll never run out of poses ever again

where it's standing up and you know how

to change that those digits of that phone

number that I was telling you about, but

you wanna just simply a different look and

you want maybe to get the bride sitting

down.

Where do you begin?

How do you actually work with a bride

sitting down?

Well, first of all, sitting down, I find

easier to direct and pose when you're far

away, because right now she's sitting down, but

I can't really see what she looks like.

Now, yes, with experience, I know the starting

off point that would be better than what

I've got now, but let's start with this.

So Lisa's just sitting down normally, she's comfortable,

nothing fancy.

Now, does this look good?

Well, Lisa, it's very hard to make Lisa

look bad, but let's, for example, uncross your

legs for a moment, and you can see

how right now that there's really not much

shape to her.

She's basically sitting down, we're foreshortening her legs,

which is sometimes in this particular position, almost

impossible to avoid, because she is sitting and

she's bending her knees upwards.

Of course, as I go lower, I'm not

gonna get any of her thigh, I'm literally

just getting little nubby knees coming out of

her hips and that's gonna look a little

bit weird.

If you crop or you hide it, depending

on what you're doing, that's okay.

In this position, I actually don't mind it

because we do have some length and it

actually works really well.

The problem is that she is sitting flat

butt-cheeked, for want of a better phrase,

and there's no feeling there, there's no finesse.

So if you ever wanted to photograph a

bride seated and facing the camera, I find

there's only a couple of ways that will

work.

Certainly, we can adjust the hands in countless

ways, but the way I like to do

it is, I like to get, without moving

the chair, I want you to move your

butt a little bit more into the chair.

And then shoulders back, I want you to

lean forward with your chest.

Do you see how even now that she's

a bit more proper?

Okay, but the legs again, look a little

bit flat, there's no finesse in the lower

part of the body.

What I want you to do now is,

I want you to cross your right leg

over your left.

Now, so you see how now she has

a bit of a platform, automatically, she put

her hands on her lap and that actually

worked, but there's still no finesse in the

sense that it's just proper.

This is almost a bit too proper.

How could I make it work?

Well, I can certainly use the flowers, but

before I do that, I'm gonna get you

to bring your shoulders back, lean forward with

your chest.

I want you, I know that you're actually

just leaning your right leg over your left,

but I want you to bring your right

leg up a little bit higher.

Now do this for me.

Gorgeous.

Shoulders back and just tilt your face this

way, turn your face that way and chin

up.

Beautiful.

And do you sort of see how very

quickly, even though that she's facing the camera,

I'm getting a little bit of shape and

design.

I love the fact that we're turning her

face to the right.

I'm photographing her favorite side of her face,

which we discussed, and the hands are very

beautiful.

They're just draping over nicely.

Usually I would sometimes put the ring hand

over the other one.

Let's just try that.

Do you see how I'm emphasizing the hand

with the ring?

And then that works.

Now, if I changed the position of her

body and did a similar pose, it's amazing

how different it will look.

So let's do that.

I'm gonna need you to stand up Lisa

there for a moment and do a similar

pose for me.

So take a seat.

Okay, great.

So keep that leg there.

I'm actually happy that you did that because

that's actually wrong.

So do you see, I've always said to

you, bend the knee that's closest to the

camera.

And almost in any capacity, there's very few

situations where that doesn't apply.

What she's done without thinking is she's put

her left over her right.

And I find that in that position especially,

if her right was over her left, it's

gonna be a lot more finessed.

Let's do that.

Switch legs.

Do you see how now as well, not

only does it look more finesse and there's

a better shape, if let's say for example,

she was either slightly plus size or even

she's just a normal person, just like you

and me and had a little bit of

a belly, this is gonna be good because

it's gonna soften her a little bit and

it'll work really well.

If she was wearing a dress, let's say

that had exposed legs, because every so often

you might get a bride's dress that's a

little bit shorter, then this is also very,

very important to know that this is gonna

work better for you.

Do you see how her left arm and

her left wrist is pointing towards the camera?

This is basically again, for shortening her arm.

Now there's some situations it's almost impossible to

get rid of based upon the context of

the pose that you're doing and the angle

that you are.

But what I can do in this situation

is simply extend her left hand this way

and then bring it down again.

So bring it down on your wrist.

And do you see how now her elbow

is a bit more into her and now

there's a bit more length.

Now, if I wanted to finesse that pose

a little bit, bring those shoulders back.

You see how again, her chest looks fuller

and firmer, arch the back a little bit.

Good, chin up a little bit.

Now you can tilt the face this way,

turn the face, chin to the shoulder and

then eyes back at the camera, arm off

the body a little bit there too, beautiful

and the shoulders back again last minute.

Put the hands like that more.

Gorgeous, switch hands.

Think in that context, that looks better actually.

Beautiful, it works really well.

A simple adjustment here.

Watch what happens now when all I do

is actually use the back of the chair

for a little bit of finesse.

So you see how you're pretty much in

the center of that chair.

Lisa, I want you to come a little

bit more to the left of it.

Now, and then turn it a slight touch

this way.

Your elbow right here.

Perfect.

Let's have a look.

All right guys, so there's a couple of

things.

First of all, I love the fact that

the elbow is on the chair and the

softness of her hands.

Remember her hand is gonna look better, her

right hand or camera left if it comes

a bit more into her body.

That's it, so beautiful.

And yeah, just nice and relaxed.

Let the air out a little bit there

now.

Beautiful.

Now, do you see how with my suggestions,

I basically said that we're gonna bend the

leg that's closest to the camera.

In fact, the right leg is the one

that's closest to the camera, therefore it is

bent.

Now, her left hand and arm are draping,

but they're actually sort of pointing a little

bit more towards the camera and it's forming

a very, very straight line, which I don't

really like.

So what I'm gonna do here is a

couple of things.

Either extend it, and now bring it on

the knee and extend it so that basically

it's sort of like this.

And then bring the elbow back a little

bit and then turn your hand more that

way.

That's it.

Now, extend it a bit more and then

shoulder back.

So something like that can actually work, but

I find that something like this, the hand

on the body to sort of mirror the

other hand in a different way would be

beautiful.

So just bring your hand just on the

top of the chest.

That's gorgeous.

Tilt the hand, turn your face, chin up

a little bit.

Gorgeous.

Shoulders back, fantastic.

And that works really, really beautifully.

And again, if she's got flowers, she could

hold the flowers right at her waist there.

And this is a beautiful classic sitting down

portrait of the bride.

Now, where the opposing leg, the left leg

should be bent if she rolls her hips

even further, let me explain.

So I might get you to stand up

for this one just for a moment.

So what I want you to do, Lisa,

is this.

I'm gonna get you to sit down right

here.

You're gonna roll your hips so that this

leg is over this one and you're still

gonna put your elbow here.

Does that make sense?

Okay, so start there, roll your hips over.

There you go, perfect.

It's gorgeous.

So do you see how I've broken my

rules, so to speak, but for very good

reason.

Look how beautiful she looks there.

And actually her left hand looks even, it

makes more sense.

Bring your knee touching that chair if you

can.

And do you see how we've got this

beautiful curve?

And again, bring this face this way, chin

up a little bit, gorgeous.

Shoulders back, nice and tall and straight and

gorgeous.

Now, let's look at her left elbow.

Do you see how she's bending her arm

up, but from the angle in which this

camera is actually seeing her, it actually looks

straight.

If all I do is mirror the shape

of her curves with her elbow by simply

bringing the elbow back.

So now her arm and her bicep, and

her elbow are mirroring the shape of her

body.

And that hand is draped really beautifully.

And that can work really, really well.

Do you see how I've broken my rule,

but it's actually looks good.

That left is over the right, but it

works.

Why?

Because her hips are rolled around.

It actually looks really beautiful.

Okay, so now it's the groom's turn.

Okay, Dylan, let's get you over here.

I want you to pretend like you're sitting

down watching your favorite game after five minutes.

What would a guy look like watching TV

after five minutes?

Let's have a look.

Yep, pretty slouchy, sort of, yeah, pretty typical.

Look a bit clumsy and all that kind

of stuff, but it's a guy being a

guy.

We're not gonna change.

This is how we sit.

Now, we wanna look better.

How do we do that?

And especially the fact that we're wearing a

suit, we wanna look formal, we wanna look

beautiful, we wanna look cool.

So now I'm gonna get you sit up

straight.

Let's see if that works.

Bring your backside right into the edge of

that.

Okay.

Okay, so now you're sitting straight.

The problem is now, again, what he's doing

with his hands, he's hiding his crotch because

it's still a bit awkward and uncomfortable.

Let's say if he brings his knees together

and he's put his relaxed fist on his

knees.

This looks like a sports photograph.

It looks like he's in primary school or

whatever it is, and it looks a little

bit awkward.

Now, if I asked him to part his

knees, that's the way I ask it.

I never say to a guy or a

girl for that matter, spread your legs.

It just sounds terrible.

So parting your knees, parting your feet is

the best way to say that.

So what I want you to do is

now, rather than sitting, see how your backside's

right in?

I want you to sit right on the

edge.

Okay, so now, okay.

This is quite a strong, somewhat even aggressive

pose.

It basically means he means business, okay?

He looks really cool, but there's still something

wrong.

At least we're hiding his crotch with his

hands, but something doesn't feel right.

It's the angle.

It's just a little bit too confronting.

So here's what we're gonna do.

We're gonna get you on a bit of

an angle.

And actually, we could even leave that there.

What I want you to do is take

back there.

Yep.

What I want you to do is I

want you to put your left foot forward

and your right foot back.

Yep, so left foot forward more.

And a bit more this way.

Cool.

Do you see how that looks a lot

cooler for a guy?

So one, if you're looking like a normal

guy like me, I'm like, yeah, I could

lose a few pounds in my belly here.

This is great because it's gonna be hiding

his belly.

His chest and his shoulders are close to

the camera and his waist is further back

and he looks cool.

He actually looks cool doing it.

Now, yes, in the context of this grand

scheme of things, I'll be cropping up a

lot closer.

For the sake of the argument in our

posing tutorial right now, I'm showing you the

context to understand the beginning point.

But do you see how his left leg

is forward and his right foot is back?

Watch what happens if we flip it.

So see how something doesn't feel right now.

It's almost like he's got nowhere to sort

of put his arms.

So the left foot should be a bit

forward, the right foot a bit back, and

we hang the body down a little bit.

And of course, this is dependent on the

chair.

If the chair's really low, he might look

a little bit awkward and clumsy leaning too

far forward.

So you either get a taller chair or

you can bring him up a little bit.

So just come up a little bit with

your body.

There for me, Dylan?

There you go, cool.

And we're relaxing our body.

And he can look off to the side,

for example.

That's it looking really cool, but it's got

a really cool, strong sort of masculine look.

He can also just cross his arms while

he's there.

Yep, but again, we're hanging our bodies.

Remember, when you're posing a guy, you don't

wanna stand too straight.

You know, when we talked about the V

or the C in terms of posing, well,

this is the C.

It's probably the other way, but you know,

you get that sort of that curve in

a masculine sense, not the S curve that

we often talk about in terms of a

bride.

Now, what I want you to do is

a cool shot for a guy is this.

Take a stand up for me again.

I want you to straddle.

Okay, so just take a seat and then

just rest your arms wherever they fall right

there.

Guys love this pose because it's very, very

cool.

It will hide your crotch.

It will basically hide a belly.

And of course, it's a great way of

showing off the little detail that guys have,

because of course, girls have so many accessories

to photograph.

Guys usually barely have a watch and maybe

cufflinks, a tie perhaps, all that kind of

stuff.

But this is a cool shot because he

looks strong.

The cufflinks are showing if you had cufflinks

and watch perhaps if it is.

And the cool thing is it works well.

Now, personally, I would not do it from

this exact angle.

It's too front onto me.

What I want you to do now is

grab the chair and yourself, twist it a

bit this way.

Yeah, that's cool.

It looks right there.

I love that on a bit of an

angle as well.

It just works well.

It looks cool.

Now, what happens if that chair, the back

of the chair is really, really high?

This is what you do.

What I want you to do, mate, see

how you're sitting pretty much in the center

of the chair.

I want you to, your right butt cheek

is still on the chair.

This left butt cheek is off.

So exactly, perfect.

Perfect.

I want this hand rest here and pretend

like this is a high top.

Yep, just there.

Perfect.

Let's have a look at that now.

And you can even go lower.

So upper body this way.

Yeah, and then rest your forearm on your

knee and bring your foot and your knee

to a point where that's comfortable for you.

Perfect.

Do you see how that would work as

well?

So this is a great shot for a

guy.

Guys love it.

It just works.

All right, very good.

So guys, we've talked about how to pose

like a bit of a foundation, an idea

of how to pose a girl or a

bride on a chair.

We've talked about a guy.

And of course, there's many, many variations.

I'm giving you the foundation to start from

and a couple of the pitfalls that I've

often done and I've actually made these mistakes

before.

But now how do we photograph a bride

and a groom sitting on a chair?

Well, who do you think would be better

to actually sit on a chair?

On whose lap?

Well, of course, you're gonna get the groom

to sit on the chair and her on

the lap.

So let's do that first.

So first of all, let's just get the

groom sitting down on his own first.

Okay, so what I want you to do

now is I want you to turn your

knees and your butt a little bit this

way.

Perfect, all right.

So Lisa, without thinking, I don't want you

to pose.

Don't think like a model or anything like

that.

I just want you to sit on his

lap.

Perhaps the way you would do normally.

Okay, great.

So what's wrong with this picture now?

What's wrong with this picture is that we've

got the right hand of hers coming out

of the shoulder, sort of doing nothing, perhaps

looking a little bit awkward.

Her knees are close together.

Nothing, there's no finesse there.

She's facing her body directly towards me.

He's got his hand on her butt and

there's just no finesse.

But I wanted a bit more finesse.

So what do we do?

Well, first of all, let's make it a

bit more intimate.

You are going to turn your knees a

little bit into him.

And now, because you've rolled your hips this

way, this now becomes a leg that's closest

to the camera, which means that we're going

to get this knee over the other one.

It's across your legs.

Now, what is this leg saying?

What is that knee saying?

What is that knee begging to be done

with?

It's basically, well, that's a perfect place to

put his hand and her hand over here.

Now, this hand, I believe, only works if

you bring it over this way, if it's

a little bit more around or you do

something with the face or something quite tender.

Personally, I find that it's a high degree

of difficulty when the hand is there, because

it can look a little bit awkward and

a little bit out of place.

So if you think it looks awkward, it

probably does.

Sometimes you just got to get rid of

it.

So let's come back and let's see what

we've got.

Now, we're almost there.

Perfect.

Shoulders back, arch the back and lean forward

this way.

Good.

Perfect.

And now, just Dylan, just relax your hair

a little bit so we don't have any

hair interrupting that moment.

That's a really important one.

Perfect.

So there's a great foundation pose when it

comes to a couple sitting.

Now, what can we do in that situation?

Of course, look at the camera.

We could look off to the distance over

here.

You could kiss his forehead right there.

Bang.

You could actually turn your face, Lisa, this

way.

And Dylan, you can give her a kiss

just right on the cheek.

Now you can introduce your hand on his

face.

Watch the arm pressing up against the body.

Both of you lean your upper bodies towards

me.

Good.

Beautiful.

Do you sort of see how very quickly

we can get two or three shots out

of that with no issue?

Great.

Relax a little bit.

Guys, this pose actually looks really awesome the

other way.

So stand up for a second.

And I'm gonna get you, Dylan as well,

get you to stand up as well.

So Dylan, if you can take a seat

for me.

Sit on his lap again.

So bring your backside, mate, right into the

chair there.

Good.

But you're gonna basically sit on his lap,

on his right.

And you're gonna roll your hips a bit

more this way.

And now you're gonna turn your face that

way.

Beautiful.

And just drape really nicely.

Gorgeous.

Turn your face into hers, mate.

Because even though that we can't see your

head, if your face is looking left, you're

not really into what's going on.

All right, stay there because I see a

problem which I'm happy to see because I

wanna show it to you.

Do you see how her arm is pressing

right up against the body there?

Again, she might like it because she's been

ripped.

She's gone to the gym.

She's feeling proud of that muscle, but that's

totally fine.

All we simply do is just take the

pressure off that particular thing there as well.

Gorgeous.

Now, bring your hand.

See how in her left hand in the

back of his head, do you see how,

from my position at least, it's amputating her

fingers?

And you know what, I don't like that,

or at least anymore.

Bring the hand up a little bit higher,

Lisa.

Good, and just bring it more this way.

More, more, more, more.

Good.

Gorgeous, love that.

Now, yes, by pure nature of the angle

of where I am in the pose, her

hand is that way, but that's looking a

lot better.

But what I'm getting at is that you

could have taken that shot of Lisa on

his lap and totally ignore the fact that

you could shoot the other way.

Now, either hopefully the lighting is good the

other way, or you create the good light,

or you simply have the choice to turn

that chair around and do exactly what I've

done.

And again here, you could giggle into the

camera, eyes into your shoulder.

You could kiss his temple.

Beautiful.

Come nice, close to his ear, like you're

whispering in his ear.

Top of your head away from me, Lisa,

so I can see more of your face.

No, top of your head away, like this.

There you go.

Turn your face more left.

Gorgeous, beautiful.

So all of a sudden, we've got a

whole other series of photographs.

It just works really well.

I love the science behind this, because it

actually, there are so many choices in the

end.

And if you're ever running out of poses,

guys, or concepts, you've got to ask yourself,

well, how many ways do you hug your

partner?

How do you sit together?

How do you walk together?

There are endless ways.

Now, how do we combine this?

Well, how about we do something like this?

So now, Dylan, I want you to take

a seat like you did before, like really,

really cool, leaning on the edge.

Yeah, perfect.

Do it this way.

So your knees are that way.

Yep, and then left foot back and the

right foot forward, and then you're hanging.

That's good, perfect.

So come a little bit more this way.

Good.

Now, Lisa, I want to get you almost

back to back.

Okay, so what I love about this particular

pose before I finesse it, is the fact

that there is, it's a bit asymmetrical.

It's not sort of too perfect.

Also, this could be for a couple, perhaps,

you know when you get a couple that

are not overtly in love, they're not that

lovey-dovey, they're sort of, they're quite sophisticated,

they're very proud, you've got a very powerful

guy, you've got also a very strong woman,

and the energy's arguably, you know, this kind

of shot works really well.

This could be for a corporate power couple

or something like that.

So remember, posing is not just about flattery,

it's about saying what you want to say

about the person that you're photographing.

So what we'll do is we'll keep you

there, mate, because you look really cool.

I want to get you right back so

that you're just touching, good.

I want you to point your toe towards

the camera, bend the knee, shift the weight

back, beautiful.

And now, actually, Lisa, come back a little

shuffle.

Keep going, good.

And I want you just leaning here, good.

This hand just on here, perfect, gorgeous, good.

Let's come back, let's have a look.

I love this because you've got this beautiful

triangular compositions.

You've got triangles in both of her arms.

You've got the triangle, of course, over the

whole pose.

You've got triangles on his arms.

You've got triangles on his legs.

And she's quite perfectly centered in this particular

frame.

So she looks strong and powerful, this beautiful,

strong, gorgeous woman.

And then you've got the guy.

He's got a strong pose, but even though

geographically you would say Lisa covers more of

the frame, because of the strength of his

pose, they're sort of more in line.

And if we're talking about composition, at least

in this particular case, I love the fact

that, yes, for the sake of this posing

tutorial, we're centering this particular shot, but this

is actually probably a way I would shoot

this picture, where she's centered and then he

breaks the monotony of this composition.

So I love that.

I think that actually works really well.

Now, if we wanted something a little bit

more intimate in this particular environment, we can

do something similar, but she just changes her

position.

So Dylan, stay where you are, but just,

I'm gonna move the chair with you.

So come back a little bit.

Okay, very good.

Now, I want you to basically stand right

between his knees.

And then I want you to put your

arm right around him, mate.

Gorgeous.

Okay, perfect.

So now, this hand, because you're taller, I

find works a bit better.

It's sort of framing what he's doing.

I want you to turn that knee right

in, like we've done before.

Bring it right into his hand there.

That's good.

And beautiful.

Now, we gotta be careful that his face

is not right in her bust, and it

looks a little bit weird.

So they're gonna almost have to form a

bit of a V.

So basically your body and your face, mate,

just separate a little bit.

Good, perfect.

I love the way she's sort of leaning

back and bringing her face back there a

little bit as well.

It's got a nice little level of sophistication

there as well.

And if you want to, we can get

them to hold hands together.

Let's just try that.

So your hand, gorgeous.

And then just bend the elbow up a

little bit.

I'm looking for a gap of air between

her elbow and her waist.

And again, just separate the chest to the

face there a little bit.

Good.

And turning this way a little bit.

That's it.

Now, do you see how Dylan is sinking

in a little bit?

I want to basically, Dylan, pretend I'm just

holding you by a piece of string on

your head, and I'm lifting you up.

There we go.

Fantastic.

So that actually is a really good way

of getting someone to sort of stretch out

a little bit because these guys have been

troopers.

We've been posing them and having some fun

all day here with our posing tutorial.

So they're getting a bit fatigued as they

would normally, but just remember that those are

the kinds of actions and things that we

can say to work well in as well.

Now that they've stretched away, that right hand

of hers can look a little bit weird.

I feel like, Lisa, we just get rid

of that right hand and then it can

just sort of come down in a way

where I don't see it on the side

of your body.

Fantastic.

Good guys.

So that's a really good way of doing

it too.

Here's another way that we can actually work

with this.

And that is, I want you to hug

him from behind.

So, Dylan, if we can just move that

chair a bit more forward.

Okay, great.

Without even thinking, I'm not gonna pose you.

I just want you to hug him from

behind.

Let's see what you do automatically.

Remember, you get your couple to pose themselves.

Let me see if it's worth renovating or

having to build from scratch.

Now, so I actually don't mind the upper

part of the body.

I find that because Lisa's leaning so far

forward, her booty's out and it looks a

little bit weird.

I actually love this shot, but I would

crop it close and I'd crop the awkwardness

of the lower part of her body.

So really, if we turned, actually do me

a favor, Dylan, just hold her hands.

If she was to just come behind you

and wrap, that's it.

Beautiful.

Now, Lisa, you put your hands on top

of his.

Beautiful.

Bring your left hand over your right.

There you go.

Beautiful.

I love the, actually, that's beautiful.

Do it the other way, Lisa.

Come back a bit more.

You did it beautifully just before.

Stop there.

Love that.

These hands are beautiful.

Love these.

And now this is just nice and soft.

So I love the repetition.

And as we've said before, in posing and

in many things in life, for that matter,

there's harmony and repetition.

Now, yes, she's looking a little bit awkward

there.

Again, lower part of the body.

We're not looking at that.

We're looking at the upper part.

We're gonna be careful of her bicep resting

up against his shoulder there as well, but

that can actually work.

Now, another way of doing this is also

just doing a very sophisticated shot in a

pose, and that is just getting her to

stand up right behind him.

So I'm gonna get you to basically hold

his shoulders.

Come nice and close this way.

Come a bit more beyond the chair.

Good.

And just bend that knee in.

Gorgeous.

And this one, this is basically, you know,

behind every successful man there's a strong, incredible

woman, which is true in my case certainly,

and I'm sure you guys as well.

But I like this.

So what we can do too, guys, crossing

the legs of the groom is always a

good thing.

Now, watch what happens when he crosses his

left leg in this position.

So just cross your leg, not in that

way, but like that.

Yep.

So it gives him somewhere to put his

hands, but we wanna be careful that the

foot is just facing the camera and looking

a little bit weird.

Let's switch legs.

I find that works a little bit better

because it gives him somewhere to go with

his hand right here.

That's sort of like almost begging to just

be done there.

And of course, even that, nice and relaxed.

And I want you, Lisa, just push off

a little bit there and then shoulders back,

lean forward with the chest a little bit

there.

Beautiful shape to the body.

And now, Dylan, just tilt your head this

way.

This way.

Yeah.

So now, here's the thing.

I would probably get rid of Lisa's left

hand in this position.

And you don't really need to see it.

You're not really saying, well, where is her

left hand?

It just works.

If you wanted some kind of emotional content

in this particular shot, apart from the fact

that she's touching him, we could get her

hand down, her left hand down, and then

basically your right hand could go touch it

again there.

But bring it up a little bit higher.

And Lisa, I wanna see your hand on

top.

Gorgeous.

So you see how that can just add

that little bit of emotional element there as

well?

And life is good.

This could work full length.

This could work close up.

This could work in many, many ways.

Remember, guys, whatever you're doing, you've got to

actually think about posing as not just some

structure, not just some, I'm there to flatter

someone or whatever.

You are there to not only flatter, but

make it purposeful and meaningful based upon their

relationship.

So if you do have, if you know

that this, like he thinks he's the boss,

but she is.

In other words, she's the one that's just

behind him and she's the strength, she's the

rock.

This is a good way to say that

story, because she looks strong and feminine and

powerful, but he also looks very strong too.

And they've both got a beautiful feel to

them.

And we've got that beautiful triangular composition, which

of course is aesthetically pleasing.

So remember, sitting down shots can really, really

work in this context.

So guys, hope you enjoyed that.

There's many other ways that we can do

it.

I'm giving you, like I said, principles.

We've started off our posing tutorial with a

lot of principles, but you see how we

apply those principles based upon all those different

types of shots that we're doing.

So remember, just play and practice.

There are so many ways to do this.

And of course, we're gonna explore some more

right now.